What is important to know about the software copy protection Vengeance Sound products (plugins only) use?

All software products of Vengeance Sound use the eLicenser/USB dongle system. This requires 1 free USB port on your computer and the USB dongle itself. The dongle is not included in any of the Vengeance Sound products and needs to be purchased separately (see for example the multilingual store of www.thomann.de). Each USB dongle can hold many licenses (e. g. Vengeance Sound, Steinberg Cubase etc.), so you only need to purchase the key once and can use it for all Vengeance Sound products. You may install single-license software on several computers as only a valid USB dongle license enables software use on one of the computers at the same time.

Related questions to What is important to know about the software copy protection Vengeance Sound products (plugins only) use?

What is the SIC code for XL Recordings?

XL Recordings has two SIC codes: 7929 and 792.

What is the NAICS code for XL Recordings?

The NAICS codes for XL Recordings are [713, 71]. This company is a Limited Liability Company and its classification code is 713. The second number in the classification refers to what type of company they are; this one being an S Corporation with assets of $5-$25 million.

Where is XL Recordings based?

XL Recordings is based in London, Greater London. This company was formed by Richard Russell and Tim Palmer with the goal of putting out records that are daring but not experimental or obscure. XL also does a lot of reissues and compilations for major artists like The Beatles, David Bowie, Bob Dylan among others – over 3 dozen to be precise!

How many people are employed at XL Recordings?

There about 45 people work at XL Recordings.

Who is the Head of Press of XL Recordings?

Jon Wilkinson, the Head of Press at XL Recordings in London, United Kingdom is a University educated man who has been working with press relations for over 18 years. During his time at Technique Publicity he developed an expertise in publicizing artist and band music to help them gain greater exposure on radio stations such as BBC Radio 1. Jon’s clients include Daft Punk (French House), Foals (Rock/Punk) and Primal Scream (Grunge). In 2003 He also started managing publicity campaigns for The Rolling Stones UK tour that year including News International’s “Who Are You?” campaign which ran before every TV programme broadcast across ITV1-4 channels between July 2005 – April 2006.”

Who is the Head of Creative and Marketing of XL Recordings?

Scott Wright is the Head of Creative and Marketing for XL Recordings. Scott’s role includes design, art direction, marketing strategy development and execution across all platforms; including physical product distribution (CDs/vinyl), digital music sales & streaming services such as iTunes or Spotify, merchandise licensing to third parties through their online store www.xlrecordingsstore.com and other retail outlets around the world like Urban Outfitters in North America & HMV UK among others.”

Who is the Head of Social and Marketing Content of XL Recordings?

Dan Coyle is the Head of Social and Marketing Content for XL Recordings.
He’s an American from Chicago who studied journalism at Northwestern University, where he was editor-in-chief of his university paper. He started a blog in 2009 to cover music industry news called “The Altered Sound,” which led him to work as Managing Editor at Pitchfork Media before joining XL Records in 2012

How to Master Mid-Side Compression Settings in Mastering?

To master the setting for Mid-Side compression in mastering, you can choose to compress the side or mid more.
If your desired result is a wider image from having compressed the mids too much then make sure that when compressing with this type of compressor there’s enough left on either end of it and not all at one point.

Where does Mid-Side EQ go in Mastering chain?

Mid-Side EQ is a powerful tool that can be used to manipulate the stereo image of vocals and other instruments in your mix. It’s very simple: you just insert it on top of one or more tracks, click its “link” button, so they are all linked together with sliders (which save as automation), move each track up & down until what sounds best for them comes through, then create an instant volume change by adding or subtracting gain from this center channel where both sides come together into mono.

The lead vocal will usually need some kind of boost in the middle range because we want it to sound louder than anything else when panned to the center!

Is Mid Side EQ necessary?

Mid-Side EQ is a superb tool for sound design, but it can also be used to create surgical enhancements. Mid-side EQs allow you to work with subtlety and precision because they have the ability to separate instruments in your mix by manipulating the width, depth, or stereo placement of each track.

How to Quick Master Mid-Side Saturation Settings in Mastering?

Mastering is an art. When using a mid-side saturator, I’d separate the signal into 4 bands and then make the distortion on bass as well as vocals happen only in the middle of that sound (mid) while making it so that other frequencies such as body are spread or pushed to either side of this center point which makes them less intense but also more wide sounding at once.

This setup gives you sharp highs with hollow lows without sacrificing any power whatsoever–which means louder mixes for your listeners!

How to Quickly Master Mid-Side EQ Settings in Mastering?

Mid-side EQ settings can be tricky to master, but with this easy tutorial, you’ll have them mastered in no time. If you want the vocals more focused and mono while still hearing all the low-end frequencies from a side-channel like drums or bass guitar, follow these steps:
1) Use a high pass filter on one side (usually labeled “high cut” or “low shelf”). Set it to 2kHz for example. This will remove any frequency below that point so what’s left is just mids without too much vibrato happening around 100Hz – 500 Hz range because some sound sources produce most of their energy there which would make your vocal seem woozy since those are close together frequencies.

How to Make Your Master Mid and Side?

Making your master Mid-Side is easy and can be done in a few ways. To make my Master mid and side, I’ll duplicate the track (making it an exact copy) use MSED by Voxengo, then mute one of each: The Mid on Track 2 and Side on Track 1.

After that’s completed, labeling them respectively, so you know which will come out as what later!

What’s great about this method is being able to adjust both width sounds with just these two tracks’ amplitude levels.

How do you use Mid-Side EQ for Mastering?

Mid/side EQs are great for adding depth, space, and width to your tracks. To make a mix sound wider, start by rolling off the lows in mid-channel while boosting highs on the side of that track from 20khz up when needed as you see fit depending on specific needs (such as cutting 60hz).

This process can be done either manually or using automation tools such as volume sliders which allow more scalability.

When should I use mid-side EQ in Mastering?

Mid and Side EQ in mastering: A powerful tool when shaping the stereo image of a full mix or individual elements. You can create width by changing the balance between mid-side levels, for example widening is achieved with high frequencies boosted on side-channel while attenuating low frequencies from your desired element’s main stem would widen it out too much, so you may want to cut some highs off that signal instead.

Is Mid-Side EQ necessary in Mastering?

Mid and Side EQ in mastering is a great way to enhance the stereo sound of your mix. It does this by allowing you to work with surgical precision on frequency-specific parts within an audio signal, which will help reduce unwanted noise while still maintaining clarity.

What is Mid and Side in mastering?

Mid and Side mastering is a technique that allows the engineer to separate out left and right signals into two different images. When observing these two types of channels, it can be seen how the Mid-image resides at 0 degrees or centered while the side would reside at 180 degrees.
This process may seem basic but in reality, there are some unique routing methods that need to take place before this effect will activate correctly, which also requires specific plugins for each type of signal being sent from one channel/track on your DAW software-based recording environment.

How to use multiband compression in mastering with the FabFilter MB Multiband Compressor?

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How to use multiband compression in mastering with the FabFilter MB Multiband Compressor?

You can use multiband compression to master your audio track using the FabFilter MB Multiband Compressor.

You need a range of frequencies from low and high, so you should set up some bands with this compressor by enabling it on each section separately for instance, “bass” or “highs.” This is done when setting parameters such as amplitude and how responsive the signal will be in relation to changes.

When doing mastering like this, it’s important that there are no loud areas because they may cause distortion if pushed too far before reaching 0dB once again. Although any change made could make other aspects worse while bringing out new parts (like changing dynamics), what matters most about mastering music is making sure nothing stands out negatively overall!

I also took my time to experiment with the attack and release of each band in order to make sure that distortion was eliminated. I also ensured transients were retained through these changes, which made for a more impressive kick, vocal, and high-hats. With oversampling enabled later on as well (which reduces peaking), you are left with an even better sound than before!

How to use mid-range compression in mastering with the FabFilter Pro-C2 compressor?

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How to use mid-range compression in mastering with the FabFilter Pro-C2 compressor?

You can use the FabFilter Pro-C2 compressor to master your tracks. It has a mastering algorithm that is perfect for subtly compressing and amplifying different parts of the sound spectrum, such as midrange frequencies (which are typically located in vocals or guitars).

This particular compressor has many settings that allow you to customize it perfectly for your needs. For example, with this specific one I wanted my track’s mid-range section amplified a little more than usual, so I used its “Mastering” mode on these sections while using gentle compression over other frequency ranges from low-mids up until high-end highs. This resulted in an overall boosted vocal timbre without clipping any peaks too much!

The last thing I did was enabling low and high pass filters to affect only the mid-range frequencies. To make sure this would work, I enabled oversampling so that quantization accuracy is improved which will help avoid peaking later on. Lastly, in order not to clip any audio at all while recording it’s best to slightly reduce output volume during a session when you’re done with your song or project for final mastering purposes!

The first step of my process involved activating both low and high pass filtering within the Side-chain section; these were important because they would be affecting just the middle frequency range after everything else has been mixed together seamlessly once more. In addition, by being able to use oversample mode (which increases sensitivity) – as well

How to use low-level compression in mastering with the UrsaDSP Boost compressor?

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How to use low-level compression in mastering with the UrsaDSP Boost compressor?

The best way to use low-level compression is through the UrsaDSP Boost compressor.

With highs tamed, I could now start amplifying aspects of the signal that I enjoyed. Knowing this plugin’s limiter would kind of be cheating, I made sure not to engage it and keep max gain at 3dB so that maximization and low-level compressors didn’t amplify too much either.

There are pros and cons for using a high level of compression on audio tracks in mastering: Pros include an increased sense/sensibility or punchiness which helps make claps more audible; Cons because some people think they sound “squished” and unnatural when overused. Listeners may also find them fatiguing after prolonged periods.

Vengeance

License transfers are possible, but require to sell your dongle together with your product (or an empty dongle, where the license you want to sell has been moved onto by simple drag & drop in the elicenser control center). Licenses can not be moved online, the dongle has to be physically on the computer for license transfer. If the new owner wants to receive future updates or technical support for his product(s), you need to purchase a license transfer from us, so the new owner will be listed in our database. Please contact Nicole “at” Vengeance-Sound.com. There you will get a link for purchase and further infos. Please note, that you only can sell hardware Dongle protected plugins, no 100% digital products, such as samplepacks or soundsets!

No. Vengeance Sound does not sell Nexus directly, please visit www.refx.com for that. They ship worldwide, offer attractive bundles and some discounts as well.

Please make sure first that your synthesizer or plugin works properly, as we take great care to fully test all our soundsets for functionality and compatibility. In case you still don’t succeed you may send us an email. An even quicker way to get helpful advice might be the official support forum (vengeance-forum.com). Please provide your date of purchase and your email address when asking for technical support.

No we are sorry. Vengeance Sound does not program single sounds due to the lack of time. However, you may send us the desired sound so we can consider adding it to the next soundset or sample pack.

Yes. You will automatically receive 10% discount in case you buy more than 1 soundset or sample pack. Just choose one of the -10% items from your shopping cart page. There is a samplepack complete bundle, too. Contact us for details.

No. All melodies used in Vengeance Sound audiodemos are copyrighted. Therefore you may not use them in any way for your own purposes like learning or even a release. Abuse is prohibited and will be legally pursued.

No. Vengeance Sound pays attention to many important aspects, and this is one of them: all samples are delivered in the popular WAV format (16-bit, 44.1 kHz) – so you can use it in almost every common sampler as well as just drag it to an audio track in your sequencer. However, good samplers might offer you even more creative, sonic possibilities.

All software products of Vengeance Sound use the eLicenser/USB dongle system. This requires 1 free USB port on your computer and the USB dongle itself. The dongle is not included in any of the Vengeance Sound products and needs to be purchased separately (see for example the multilingual store of www.thomann.de). Each USB dongle can hold many licenses (e. g. Vengeance Sound, Steinberg Cubase etc.), so you only need to purchase the key once and can use it for all Vengeance Sound products. You may install single-license software on several computers as only a valid USB dongle license enables software use on one of the computers at the same time.

Choose from our range of products by browsing “soundsets”, “samples” etc. via the menu bar. Every product available has a detailed description, audiosamples and a “buy” button. Your decision made, all you have to do is follow the clear and easy payment instructions. You may need a credit card, a valid bank account or paypal to complete your order. Furthermore, we recommend a fast internet connection since e. g. sample packs are easily more than 500 MB in size.